What is an analysis of Kamau Brathwaite's Middle Passages?

In Middle Passages, Barbadian author Kamau Brathwaite presents a collection of layered and nuanced poems featuring vernacular language and word play, jazz rhythms, and references to the cultures and histories of African and Caribbean nations. Brathwaite’s poetry examines colonial and post-colonial experiences, providing reclamation of Afro-Caribbean identity as a response to the colonizing European paradigm. The collection’s title refers to the term for the transport of enslaved Africans across the Atlantic and the ensuing legacy of slavery and struggle for freedom and Civil Rights.
The opening poem “Word Making Man” celebrates the works and life of Cuban poet and activist Nicolás Guillén. (Brathwaite’s title references a collection of Guillén’s poetry entitled “Man-Making Words.”) The poem invokes Cuban music and people and events in the history of independence movements and Civil Rights such as the Little Rock Nine and Patrice Lumumba. In the poem’s middle section, Brathwaite notes that “Amerika laughs” at the Caribbean while still caught in fantasies of exploitation: “it turns to the wall in its creaking bed of dollars,” wanting an unlimited West Indies in contrast to Guillén’s protest against imperialism in his work West Indies Ltd. However, Brathwaite believes in the stronger connections among Cuba, Jamaica, and Barbados, independent countries with inhabitants who are “owners herein of all there is to see / owners herein of what we must believe / of what our hands encompass as we dream.”
Middle Passages showcases Brathwaite’s work toward developing his “sycorax video style” that combines computer typography with musical rhythm and intricate linguistics. In Shakespeare’s play The Tempest, Sycorax the witch was the symbolic rival to the shipwrecked magician Prospero and the mother of Caliban, the island’s inhabitant. In “Letter Sycorax” (with a dedication that references Queen Ana Nzinga who fought against Portuguese colonization in Angola), a version of Caliban writes a letter in vernacular language to his mother on a computer.
Caliban references historical figures such as Jackie Robinson and science-fiction characters like robots and aliens, thus linking them with indigenous people under colonial oppression. With this poem, Brathwaite creates a parallel between Sycorax and computers, as witchcraft and magic could be seen as early forms of technology. Using a computer with its quick, magical ability to place text and graphics anywhere thus frees Caliban as a thinker and writer. Sycorax as a computer gives voices back to colonized indigenous peoples, enabling them to tell their side of history.
In the closing poem, “Irae,” which presents a strong political statement, the poet envisions those who died in events like Wounded Knee and the massacres at Sharpville and My Lai are called up by Louis Armstrong with his trumpet. He prays to God as the “head savior of the broken herd,” one who looks after the African Diaspora, asking “grant me patience with thy plenty / grant me vengeance with thy word.” He ends the poem with a computer-generated graphic symbolizing the ocean waves between Africa and the Caribbean, the Middle Passage.
Brathwaite often groups his poetry collections as trilogies and Middle Passages can be read with Black + Blues and Third World Poems (published in 1976 and 1983).
http://core.ecu.edu/engl/deenas/caribbean/brathwaite.htm

https://www.poetryfoundation.org/poets/kamau-brathwaite